Blumlein, Michael. "Keeping House." The Brains of Rats. Scream Press, September 1990. 89-100
______. I Shudder at Your Touch. Ed. Michele Slung. New York: ROC, May 1991. 86-96
Rating: 7.5/10
Following her appointment as Associate Professor of Classics at the nearby university, a woman, along with her husband and their baby daughter, move into their new home. Rather than taking on the challenges of the shabby, broken down yet affordable house on the block, they settle on the more costly, yet renovated house beside it. What is quickly set up as a ghost story becomes something entirely difficult, relying on the psychological rather than the paranormal to illustrate an intelligent and hard-working woman's mental decline.
The story toys a little with the conventions of haunted house stories, referencing some of its tropes, like unpleasant scents and mirrors that reflect things that don't appear to be present at all, but instead of being a ghost story, it is far more akin to Charlotte Perkins Gilman's excellent psychological tale of deterioration, "The Yellow Wallpaper" (1892). Like Gilman, "Keeping House" is told through the point of view of a new mother in a new environment who begins to believe that her surroundings are coming alive. Rather than believing someone is living trapped in the wall or its paper, Blumlein's unnamed heroine believes that threatening spirits are trying to infiltrate her home, entering from the adjacent, broken down eyesore of a house she chose not to purchase. To prevent this threat from destroying home and family, she does battle via an obsessive cleaning/cleansing routine.
Though the story can arguably be read ambiguously, there is enough evidence in the text to indicate that the visions and scents stem from the woman's overwrought mind. Possibly following postpartum, as is the case in Gilman, the un-named narrator goes through various extreme mood swings, which eventually culminate in her taking on all aspects of a family provider, and believing there is a threat attempting to pervade the house and harm the order and harmony she is struggling to maintain. She fights back by increasing the need for order and cleanliness to a dangerously obsessive degree.
Our narrator finally snaps as she begins preparations to have sex with her husband. This is the only indication in the story of any form of intimacy between them, hinting that they have not been physical sine conceiving their only child. Like her obsessive cleaning routine, her preparations for sex become ritual-like, and the story hence makes a connection between the couple's intimacy and the invading spirits, at least in the woman's mind. As she fights to prevent threats to invade her home, she is fighting to prevent her husband's invasion of her body. Following this scene we are informed that the husband is grumpy and increasingly absent due to work, though likely he is staying away from his wife in response to her increasing obsessiveness ("You are sick," he tells her), and perhaps also out of basic sexual frustration. The consequence is simply that mother-wife, as in Gilman, becomes increasingly isolated in response to the husband's unsympathetic assessment of her condition.
______. I Shudder at Your Touch. Ed. Michele Slung. New York: ROC, May 1991. 86-96
Rating: 7.5/10
Following her appointment as Associate Professor of Classics at the nearby university, a woman, along with her husband and their baby daughter, move into their new home. Rather than taking on the challenges of the shabby, broken down yet affordable house on the block, they settle on the more costly, yet renovated house beside it. What is quickly set up as a ghost story becomes something entirely difficult, relying on the psychological rather than the paranormal to illustrate an intelligent and hard-working woman's mental decline.The story toys a little with the conventions of haunted house stories, referencing some of its tropes, like unpleasant scents and mirrors that reflect things that don't appear to be present at all, but instead of being a ghost story, it is far more akin to Charlotte Perkins Gilman's excellent psychological tale of deterioration, "The Yellow Wallpaper" (1892). Like Gilman, "Keeping House" is told through the point of view of a new mother in a new environment who begins to believe that her surroundings are coming alive. Rather than believing someone is living trapped in the wall or its paper, Blumlein's unnamed heroine believes that threatening spirits are trying to infiltrate her home, entering from the adjacent, broken down eyesore of a house she chose not to purchase. To prevent this threat from destroying home and family, she does battle via an obsessive cleaning/cleansing routine.
Though the story can arguably be read ambiguously, there is enough evidence in the text to indicate that the visions and scents stem from the woman's overwrought mind. Possibly following postpartum, as is the case in Gilman, the un-named narrator goes through various extreme mood swings, which eventually culminate in her taking on all aspects of a family provider, and believing there is a threat attempting to pervade the house and harm the order and harmony she is struggling to maintain. She fights back by increasing the need for order and cleanliness to a dangerously obsessive degree.
Our narrator finally snaps as she begins preparations to have sex with her husband. This is the only indication in the story of any form of intimacy between them, hinting that they have not been physical sine conceiving their only child. Like her obsessive cleaning routine, her preparations for sex become ritual-like, and the story hence makes a connection between the couple's intimacy and the invading spirits, at least in the woman's mind. As she fights to prevent threats to invade her home, she is fighting to prevent her husband's invasion of her body. Following this scene we are informed that the husband is grumpy and increasingly absent due to work, though likely he is staying away from his wife in response to her increasing obsessiveness ("You are sick," he tells her), and perhaps also out of basic sexual frustration. The consequence is simply that mother-wife, as in Gilman, becomes increasingly isolated in response to the husband's unsympathetic assessment of her condition.
Thematically the story can be read as a modern woman struggling with the pressures of a career and balancing the traditional mother and wife requirements of home. Husband is absent from much of the story as he is struggling at a new job, or so the narrator presumes, and in a sense re-living the postpartum environment as mother is trapped at home with baby. Whatever we wish to read behind the woman's deterioration, it is the process itself that is the focus of the story. Again as with Gilman, our heroine is at the outset of the story already in her isolated state at home, though Blumlein's narrator does have the freedom of escape as she goes to work. The latter portion of the story, however, takes place during the summer, and as a teacher she drops her summer work option and remains at home to battle the demons behind the walls. The ending lacks the pure creepiness of Gilman's final scene, but does give us quietly depressing final act of cutting oneself off entirely from the world that surrounds.
"Keeping House" has evidently only been published in Blumlein's first short story collection The Brains of Rats (1989), and only reprinted in the Michele Slung-edited sex-focused horror anthology I Shudder at Your Touch (1991). It deserves greater exposure.
Blumlein is one of the best of the writers to emerge in the '80s...I have a copy of the collection, and definitely one of the Slung anthology, in one storage box or another...I think I picked up the Blumlein book during one of the periods where I was moving so much that TBR books were often boxed away...
ReplyDeleteI haven't read the collection & don't own a copy, but now that I've been exposed to "Keeping House," I will keep an eye or two out for it. I'll get around to reviewing the anthology soon enough; it's quite good.
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